Showing posts with label London. Show all posts
Showing posts with label London. Show all posts

Wednesday, 15 November 2023

Beige Palace/Cassels - Waterloo Sublet/About Not Writing Split 7"


 Labels: Human Worth/God Unknown Records

Formats: Vinyl/Digital

Release Date: 07 Apr 2023


Tracklist:


1. Beige Palace - Waterloo Sublet

2. Cassels - About Not Writing


Some years ago now I went to an all day gig at The Brudenell in Leeds. The two bands that I remember from that day were Hoof Glove (members of Famine/Khuda at the time if my memory serves me right) and Beige Palace. Despite the foggy memory, coming across this split that was released earlier this year via London label Human Worth and God Unknown Records, memories came flooding back. Beige Palace is an experimental/art-rock trio from Leeds and London duo Cassels play a combination of arty post-punk/noise rock.


It feels very late in the day to be writing about anything noisy (especially as I’ve only recently complained to a neighbour about their tenant playing loud pop music at 4am on a weekend). Adulting aside, let’s dive into some noisy rock starting with Beige Palace and their song ‘Waterloo Sublet’. I think I must have seen a very early iteration of Beige Palace back in the day because I can’t remember them sending like this. It’s a somewhat minimalist song instumentation-wise, while the vocals are a mix of clean shouts and harsher screams. I love the multi-vocal approach. It reminds me of the warmth and experimentation that encompasses the rock/punk/heavy community in Leeds.


Cassels are a new band to my ears but one that immediately strikes me with the stark sound of their song ‘About Not Writing’. It goes from cocky London indie/spoken-word to dissonant noise and back with ease. It reminds me of early Franz Ferdinand in places, which is where the post-punk similarities come about, except they’re much heavier towards the end. I really don’t know how else to describe this song. Cassels definitely deserve more research/listening if you haven’t heard them before.


This split release demonstrates just how diverse the DIY/grassroots music scene is in the UK. Both Beige Palace and Cassels approach their craft from different angles, yet they both compliment each other. Despite there only being two songs on this split, that’s still more than enough to get you started. Another great little 7”. We need more of these.


You can stream and purchase this split digitally below from both labels, where it's also available to buy on 7" vinyl:-



Beige Palace - https://www.facebook.com/beigepalaceband

Cassels - https://www.facebook.com/casselsband

Human Worth - https://www.facebook.com/HumanWorthMusic

God Unknown Records - https://www.facebook.com/godunknownrecords

Wednesday, 22 February 2023

Torso - A Crash Course In Terror


Labels: APF Records

Formats: Vinyl/CD/Tape/Digital

Release Date: 27 Jan 2023


Tracklist:


1. Heads Start To Roll

2. Pranks

3. Sinking Spell

4. Depth Charge

5. Precious Blood

6. Death TV

7. Circuit Breaker Breaker


The sound of multiple jets flying over (probably on routine training flights) sounds a tad ominous from the secure comfort of my flat, but I know that noise is about to be drowned out by the sound of London's newest horror-sludge (if that's even a sub-genre) band Torso. Torso was formed out of the ashes of heavy metal/stoner band Possessor and A Crash Course In Terror is the band's debut album, having been released in late January by APF Records from Manchester.


A Crash Course In Terror is a trip of very different proportions. The keyboard tones that open ‘Heads Start To Roll’ sound like they’ve come straight from the eighties and the ripping music that follows from Torso is filled with just as much swagger. Torso is a solo-project that’s been created by former Possessor member Graham Bywater, though here keyboards are provided by Wayne Adams (on tracks 2, 4 and 7), who also recorded, mixed and mastered the album.


There’s an uneasy feeling about ‘Pranks’, which is essentially an ambient instrumental, slowing the momentum that follows the album’s first song but also providing great anticipation for the rhythmic, garage-like ‘Sinking Spell’. It’s the verses that borrow from garage-punk, while there are much heavier passages that contain harsher vocals and industrial percussive blasts as well. The variation so far is awesome. You definitely won’t get bored.


The interspersing of longer tracks with shorter interludes (if you like) is a little off-putting if you were expecting all seven songs here to hit full throttle, but then again you shouldn’t let it put you off. ‘Depth Charge’ signifies the horror aesthetic that Torso portrays, without losing any catchiness.’ Precious Blood’ is that bizarre mix of jarring, off-kilter tempos and classic/glam rock flair. It works unbelievably well when Torso’s grooving with abandon. The latter half of the song ushers in psychedelic guitar flourishes that rain light down on the record. Perfectly placed and performed. 


It follows immediately on to ‘Death TV’, which acts as the album’s final instrumental, with it’s space-age melodies and percussive effects. A Crash Course In Terror closes with the ominous sounding ‘Circuit Breaker Breaker’. The opening sample, that’s been a theme throughout the album, offers no respite before Torso’s sludgy/heavy sound becomes awash with grunge and punk. It all hits like a crazy mash-up of Perturbator, Claudio Simonetti’s Goblin, Ghost and Melvins. 


However you approach this album and whomever you draw comparisons too (if you even need too), A Crash Course In Terror is brilliant and acts as the perfect cleanser from today’s constant white noise.


You can stream and purchase A Crash Course In Terror on all physical formats (as well as digitally) below:-



Torso Instagram - @here_lies_torso

APF Records - https://www.facebook.com/apfrecords

Tuesday, 14 August 2018

ERICBANA/Scum - From The Ground


Labels: Self-Released
Formats: CD/Digital
Release Date: 03 Mar 2018

Tracklist:

1. ERICBANA - Maniac
2. ERICBANA - Colour Of Death
3. Scum - Blood Of The Machine
4. Scum - Witness

Off work this week so catching up on some reviews that I've been meaning to write for a while now. This is one and having interviewed Scum and ERICBANA, as well as seeing both play a joint EP launch gig in Harrogate, I finally got something written up. I've talked before about feeling more pressure when it comes to covering bands whose members I know personally, so here goes...

It’s good to hear ERICBANA releasing music and playing shows again. They’re one of those local bands that always seem to be there even when you think they’re off the radar. Their opener Maniac starts off loud and heavy as it builds. When the first verse kicks in it’s backed up by fast pogo-punk drumming and guitar-work to match. The vocals are shouted though the lyrics are audible, while the gang vocals show the DIY spirit and togetherness that Harrogate small music community has. Coops does his best “Transplants” impression at the start of Colour Of Death, but unlike that band, ERICBANA don’t make use of gimmicks and instead mix hardcore-punk with thrash. High tempos and more raucous shouting adds to the song’s urgency and it’s over before you know it.

Scum are a slightly different proposition musically, as they’re more crusty and technical in places. Blood Of The Machine has a metallic edge and plenty of off-kilter hardcore blended into it. Being from London, I wouldn’t be surprised if they ended up on a Chimpy Fest line-up in the near future. They just straight-up grind on Witness, which takes no prisoners. Instantly it’s stupid fast and when they do slow it down, it’s to the kind of heavy stomp that makes powerviolence so moreish. Chaos reigns supreme and what seems incoherent is in fact perfectly structured grinding punk. 

This split has been a labour of love between two bands that are doing what they enjoy. The Homefire Studios recording job allows their music to breathe while taking away none of the heaviness. Both ERICBANA and Scum are brilliant live and I’m not just saying that because I’m biased. Give this a listen and show both bands some support. 

Stream the full split below, where it's available from both bands as a name-your-price-download:-





You can also watch Scum's EP release video below:-


CD copies can be found at gigs or you can contact both band's via the usual methods.

Wednesday, 9 May 2018

10 Questions: Scum


This interview was going to form part of a larger article; however, I've decided to post it up this evening so that I'm not keeping Scum waiting any longer. Scum are a London based hardcore band with links to links to Harrogate, where I reside. Those links have seen them release a split cd/digital EP with local hardcore band Ericbana (who I'll be featuring in the coming weeks). They came up here recently to play and EP release show alongside Ericbana, Leeds punks Strong Boys and fellow Harrogate band The 7ups. Thanks to Scum for taking the time to answer my questions. 

Who is in Scum and where are you from?

Scum is a four piece from Harrogate and London, Ross Lilley is our vocalist, Ash Merritt on guitar, Jamie Lyons on drums and Alin Lordache on bass. We're essentially nasty fellows who play something resembling metal/hardcore with a bit of thrash and grind thrown in for good measure. 

What is the history of the band? When and how did you form?

Scum was started by me (Ash) and Lyons around 2014 as a way to let off steam and exercise our musical muscles outside of the more straight ahead punk bands we were playing in around the time the band started. It didn't take us long to come to the realisation that we way preferred the musical freedom and heaviness of playing in a band like Scum, it quickly became both of our main gig! It took us a little bit to find Ross and Alin, two years in actual fact, we're still trying to get rid of them. Initially we started off a little more techy but as the band progressed, the groove became king, more extreme elements of punk seeped which takes us up to where we are right now. 

Have any of you played in previous bands and are you in any other bands currently?

Lyons and I (Ash) have played in a bunch of bands together over the years, we've done everything from hardcore to twinkly emo music but currently Scum is our main and only. Ross has played in supremely heavy bands namely Blind Mentality around the Pompey (Portsmouth) area which is where he's from. Alin played in a Birmingham based tech metal band called Rise Of My Empire for a good few years before joining us. 

Who write’s the lyrics/music? Is it collective?

The process tends to be that I (Ash) write the rough outline for a tune, then Lyons and I will properly get together in the practice space and structure it out and make it sound like us. Alin will then re-write the bass parts (always for the better). Lyric wise Ross is a loner so we solely rely on him to come up with shit. He's good at it so we basically leave him to it! 

What subjects do you cover in your lyrics?

It tends to be all quite serious and po faced! The folly of humanity, war, mental struggle, financial struggle, the political and social state of the world at large all are topics Ross has covered. 

Are there any bands that have influenced you?

A fuck tonne, the Dillinger Escape Plan are a massive one for me (Ash), mainly from the perspective of our approach, i.e. fuck the conventional path, make your own. Early Trash Talk and early Hatebreed for the groovy hardcore side of things. We personally grew up on a steady diet of Metallica, Pantera and Sepultura which all have a huge bearing on the riff style. That being said, we really try to not borrow too much from any one band in particular, we're incredibly conscious of when things do and don't sound like 'us' and we fully intend to keep it that way. 

What are your favourite albums/EPs at the moment?

...From the Ground by this band called Scum, duh. Seriously though, recently we all really dug the new Code Orange, we've also been on a massive Jamie Lenman hit recently, Devolver is fucking dope as are Reuben who amazingly i've only just discovered. I also recently discovered Bark Market who are incredible for that lo-fi rock and roll southern fried sound. The most recent Car Bomb album kills, and on that heavy side of things, the most recent releases from all Pigs Must Die and Nails, Employed to Serve, Knocked Loose, Fit For An Autopsy, Carpenter Brut are nuts. We're also heavy into various other genres from Horace Silver to Jamiroquai to MF Doom. 

What is your favourite gig/tour story? 

Every gig tends to be rife with alcohol fuelled shenanigans, it's the mental people that you meet gigging that stick in my mind. We played the Devonshire Arms in Camden a little while back, spent the whole day getting rather messy with strange old punks. The sound engineer turned out to be one of the said old punks, he went by the name of Diesel and bought a pitbull (who was much nicer than he was). He was a quick to temper old gentleman who did not take kindly to me calling him son in true Yorkshire fashion in a urinal encounter. People like that make gigging hilarious! 

What is your local heavy/punk scene like and who should we check out (band-wise)? 

Scum had two main phases of existence, for the first few years we were in London and unfortunately there wasn't much of a scene but in the North there’s Leeds with it’s famously sick hardcore scene, bands like Broken Teeth (Manc) and Higher Power (Leeds) are sick as well as more underground bands like Hex (Leeds). We're basically down with most of the bands that play places like Temple of Boom and Chunk. We aren't too aware of of whats going down in York but we're playing there at The Spread Eagle on the 13th of April (plug) so I guess we'll see! 

What is your favourite tipple?

The band drink is basically rum and coke, a drink we can consume to a shameful degree. Lyons is an alcohol bin and will drink basically anything. Alin occasionally brings us back home made Romanian moonshine from his trips to the motherland which tastes like petrol and could knock out a small army. Great for a cold, because it will kill you. 

You can listen to their split with Ericbana, as well as thier earlier EP below:-



Both are available as name-your-price downloads too.


Once again, cheers to Ash and Scum for taking part in this interview. I'll be posting up a review of the split soon too.

Tuesday, 23 January 2018

Dym - Ray's Front Teeth EP


Labels: Barely Regal Records/strictly no capital letters/Time As A Color/Kingfisher Bluez
Formats: LP/Digital
Release Date: 8th Dec 2017

Tracklist:

1. Four/Bi-Gone
2. Tried As Far
3. Web Held, Over/Under
4. Evil I Be Done
5. Hermitage
6. Short, Caught, Right Out Of Feeling

Last August I was lucky enough to see (and meet) Duct Hearts for the first time in Leeds. They were touring alongside Thisismenotthinkingofyou and Dym. I learnt recently that Dym had released an EP and I was given the chance to review it. Dym is a post-hardcore (by way of all kinds of musical influences) trio from London, who began life in 2016. After an initial demo tape, this is their second official release (except for the tape they produced specifically for their tour with Duct Hearts/TIMNTOY). All three members are extremely creative an are active in countless other projects, which means they can bring plenty of outside influence into this band.

From their gig with Duct Hearts et al. I remember Dym having a sort of lo-fi live sound but on record their sound is a lot more than that. Opener Four/Bi-Gone contains some lovely guitar riffs that sound like emoviolence/screamo riffs being slowed down to sludge-like tempos (that sounds weird but I know what I mean). The drums are quite easygoing and the vocals sit in the middle, slightly detached, which is probably where I got the lo-fi impression from in the first place. It’s experimental emo/indie and it’s a cross between Crash Of Rhinos and Simmer. Dym’s energy is felt more during Tried As Far, where they put more screamo influences into their music, especially in the vocals and the dissonance of the guitars. Web Held, Over/Under is another experimental (and sometime arty) number. It’s pretty restrained and there’s a brooding sense of foreboding that’s not often present in the sub-genre. The latter half especially is more violent and jarring at times. 

Ambient textures make an appearance at the beginning of Evil I Be Done, which seems to nod towards Americana briefly. Aside from the almost whispered vocals towards the end, it’s an instrumental. Dym is pretty happy to play lengthier songs and Hermitage is the second one that reaches the six-minute or over mark. It’s beautiful though, staying true to their less-is-more approach to songwriting. Following Hermitage is the record’s closer, Short, Caught, Right Out Of Feeling. It’s intro riff seems to directly follow on from the main riffs towards the end of the penultimate song, which mean continuation is strong. Vocals-wise it’s the heaviest yet Dym doesn’t hold back on the melody. It’s a short piece and it ends abruptly, albeit with the final sounds of bass guitar(?)/ambience once again. “Ray’s Front Teeth” is a nice and relaxing record but with enough musical impact to make you take notice. I’d definitely file it next to the music of the bands I’ve mentioned above. 

You can stream "Ray's Front Teeth" and get it as a name-your-price-download from Dym's bandcamp page below:-




Physical copies are available from the below labels:-

strictly no capital letters - http://sncl.collective-zine.co.uk